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"Because the reality is that morality isn't painted in black and white, but infinite and varied shades of gray, the hue shifting and changing subtly for each observer - with their own experiences and knowledge coloring the outcome. And what's true of our world is true of this one as well."

“I’ve been where you are . . . Gone down the same path. It seems crazy, impossible, insane� but once you’ve explored every logical alley and crevice, followed that line of reasoning to its inevitable conclusion, you’re left with a single unanswerable question . . . How do you really know this world’s residents aren’t real?�


Bagwell reintroduces his main character, Jason, at the interesting juncture of now being imprisoned, framing the initial two-thirds of the book as a flashback as Jason recounts the events leading up to his confinement. This dialogue between Jason and Westley serves to add a new layer of intrigue, while at times resembling a Platonic dialogue foreground the philosophical and ethical issues of the game. The ability of the NPCs to pass the Turing Test, their personhood, and the game's intense realism pose significant questions for the nature of AO. The series' thematic focus on conceptions of reality and the attendant ethical implications have been underlying several subplots, yet here these matters are tackled more directly as Jason elucidates such points for his interlocutor. He cycles through these issues, such as defining reality, the ethics of (virtual) torture, and relativistic morality. Westley himself unexpectedly proves to be a fascinating character. Being accidentally caught in the center of Jason's schemes, he comes to experience the game first-hand, and his personal growth by the end of the book, in a sense, parallels that of Jason in the overall series as hinted by his repetition of Jason's philosophy at the investigation meeting. Another fascinating stylistic feature is the occasional vignettes from the perspective of otherwise background characters, a technique that Bagwell utilized in previous novels to create a greater depth to his fictional. In Hellion, this habit reveals its true creative potential, especially with the miniature backstory provided for Ella, a character that hopefully will show up in future novels.

The story in Hellion impressively weaves together the threads of Jason's and Finn's storylines as well as the side quest novels centered on Eliza and Frank. As with the rest of the mainline series, the perspective remains primarily with Jason, a character that has already shown substantial development over the course of the series. The more inward focus and development of Jason in Dominion (the management and stability of the Twilight Throne and his existing relationships), shifts in Hellion to grappling with the external threat posed by Finn. Of course, once he learns of Finn's motivations, the tone shifts remarkably. This watershed moment for Jason also directs attention back to the matter of Alfred's potential role in all of this, with the unsettlingly question of the AI's overarching influence, both inside and outside the game. Beneath this main conflict, are also threads of continuity, wrapping up developments of Eliza's story from Apathy, and the deepening relationship of Frank and Silver from Unity.

The novel is an impressive addition to the series, as well a remarkably innovative addition to the genres of science fiction and LitRPG overall. Bagwell, through Westley, also provides a more sophisticated and nuanced perspective on the concept and theme his the inaugural book of the series, Catharsis. This callback accompanies the closure of previous plotlines (the CPSC investigation appearing to be at an impasse now) and allusions to future developments (the connections of Eliza's parents, Alfred's hidden plans, and Finn's own goals), boding well for future novels being able to sustain the high pace and intrigue of Hellion.